£  R  HALLM^GORMICK 
ECnON  OF  PAINTINGS 

EXHIBITEDBYTHE 
BOSTON  ART  STUDENTS 
ASSOCIATION 


I 


OOPLEY  HALL  BOSTON 


Digitized  by  the  Internet  Archive 
in  2014 


https://archive.org/details/exhibitionofrhalOObost 


Portrait  of  Sir  Henry  Guildford 

By  Hans  Holbkin 


ILLUSTRATED  CATALOGUE 

EXHIBITION  OF  THE 

R.  HALL  Mccormick 

COLLECTION  OF  PAINTINGS 
CHIEFLY  OF 
THE  ENGLISH  SCHOOL 


UNDER    THE     AUSPICES    OF  THE 
BOSTON     ART    STUDENTS  ASSOCIATION 
COPLEY  HALL,  BOSTON,  MASSACHUSETTS 
M  DCCCC 


Press  of  Geo.  H.  Ellis,  Boston 


PREFACE. 


Before  the  reign  of  Henry  VIII.  but  few  pictures  in  the  modern 
sense  of  the  word  were  to  be  found  in  England.  "John  Pruddle, 
Glazier,"  had  painted  the  chapel  windows  in  Westminster,  and  "John 
Brentwood  engages  to  paint  on  the  west  wall  of  some  chapel  '  our 
Lord  Jesus  and  all  manner  of  imagery  thereunto  belonging.'  "  The 
illuminators  of  missals  had  also  done  very  beautiful  work.  The  opu- 
lent and  magnificent  Henry  VIII.,  however,  called  many  painters 
into  his  employ,  and  even  tried  to  tempt  Raphael  and  Titian  to  come 
to  him.  Therefore,  when  Holbein  arrived  in  Kngland  with  letters  of 
recommendation  from  Erasmus,  the  king  gladly  took  him  into  his 
service  as  court  painter,  which  position  he  held  until  his  death  in 

1543- 

Holbein  was  followed  by  Rubens,  Janssens,  Van  Dyck,  etc.,  and 
finally  by  Sir  Peter  Lely  and  Sir  Godfrey  Kneller,  most  of  whom 
were  employed  as  painters  to  the  English  court.  But,  as  Walpole 
says  of  Inigo  Jones,  England  adopted  Holbein  and  Van  Dvck,  and 
borrowed  Rubens,  but  she  produced  Hogarth,  whose  robust  genius 
broke  through  the  conventionalities  of  Lely  and  Kneller,  and  laid  the 
foundations  of  the  distinctively  English  school  of  painting.  In  1768 
the  Royal  Academy  was  founded,  and  Sir  Joshua  Reynolds,  with  his 
greater  refinement  and  education  and  his  independence  of  thought, 
"ransomed  portrait  painting  from  insipidity."  Indeed,  the  growth  of 
the  English  school  has  always  been  attained  through  individuality 
rather  than  through  the  leadership  of  schools.  What  the  steps  have 
been  the  pictures  before  us  will  best  show. 

Redgrave  says  in  his  "  Century  of  English  Painters,"  "  1  f  the  great 
painters  with  whom  our  school  commenced  left  no  actual  successors 
and  rivals  in  their  particular  branches,  a  host  of  men  of  great  original- 
ity of  aim,  of  new  modes  of  thought,  who  were  to  cultivate  fresh  fields, 
were  ready  for  the  work."  And  again,  "  The  talent  rising  up  to 
succeed  that  which  is  passing  away  is  abundant ;  and,  if  it  is  different, 
is  it  not  best  that  it  should  be  so  ?  " 

The  Committee  wish  to  express  their  sincere  appreciation  of  Mr. 
McCormick's  generosity  in  entrusting  his  valuable  collection  of  pictures 
to  the  Association  for  exhibition.     Mr.  McCormick  began  to  form 

[3] 


this  collection  between  twenty  and  thirty  years  ago,  and  with  untiring 
zeal  has  continued  the  quest  up  to  the  present  moment,  having  just 
added  to  his  list  nineteen  pictures  by  Byam  Shaw.  In  response  to 
the  inquiries  of  the  Committee  as  to  where  and  how  he  had  been  able 
to  make  his  collection,  Mr.  McCormick  writes,  in  part,  as  follows :  — 

Three  of  my  first  purchases  —  the  Verboeckhoven,  Hertzog,  and 
Litschauer  —  I  bought  in  1871,  as  the  nucleus  of  a  future  collection. 
*  *  *  I  have  often  been  asked  how  I  have  been  able  to  secure  family 
portraits.  A  lady  explained  to  me  once,  in  selling  me  the  portrait  of 
her  ancestor,  that  she  had  several  other  family  portraits  by  the  same 
artist.  She  had  never  cared  very  much  for  this  particular  ancestor, 
and  thought  she  would  rather  have  the  money  to  use  in  a  pet  charity 
than  to  have  the  lady's  portrait  hanging  on  the  wall.  *  *  *  In  study- 
ing the  pictures  in  the  National  Gallery  of  London,  I  concluded  that 
it  would  be  possible  for  me  to  form  an  interesting  collection  by  con- 
fining myself  exclusively  to  one  School.  The  pictures  of  the  Italian 
School  had  been  very  closely  picked  over,  and  a  great  uncertainty  ex- 
isted as  to  their  authenticity,  which  was  also  the  case  with  the  old 
Dutch  pictures.  The  Barbizon  pictures  were  held  at  very  high  prices, 
and  were  difficult  to  get ;  and,  there  being  but  little  demand  for  Eng- 
lish pictures  at  that  time  outside  of  England,  I  concluded  to  try  to  get 
together  a  retrospective  collection  of  the  old  English  School. 

I  have  had  some  very  interesting  experiences  in  collecting.  I 
have  bought  my  pictures  on  the  continent  of  Europe,  many  of  them 
in  London  ;  and  on  account  of  the  demand  which  has  sprung  up  in 
this  country  I  have  been  able  to  buy  not  a  few  in  New  York. 

By  Mr.  McCormick's  kind  permission  the  catalogue  has,  for  the 
most  part,  been  compiled  from  his  very  comprehensive  one.  The 
biographical  notices  have  of  necessity  been  so  condensed  that  they 
bear  but  slight  resemblance  to  the  originals.  It  is  hoped,  however, 
that  they  may  serve  as  legends  on  the  mile-stones  which  mark  the 
more  important  turns  in  the  road  of  Art  in  England  from  1497  to 
the  present  day. 


[4] 


C  ATA  L  O  G  U  E . 


HOLBEIN  (Hans).  1497-1543. 

Hans  Holbein  was  born  in  Augsburg,  and  educated  in  Basle, 
where  he  formed  a  friendship  with  Erasmus,  the  result  of 
which  was  an  invitation  to  him  from  Henry  VIII.  to  visit 
England.  He  soon  became  the  King's  favorite  painter  and 
not  the  least  glory  of  his  reign.  In  1536  he  was  appointed 
court  painter,  and,  with  the  exception  of  two  or  three  years 
which  he  spent  in  Basle,  he  lived  in  England  until  his  death, 
in  1543.  Holbein  painted  in  oils,  distemper,  and  water-colors, 
and  was  also  the  author  of  a  series  of  designs  for  wood-cuts 
(known  as  "  The  Triumph  of  Death  ")  which  were  published 
at  Lyons  in  1538.  His  portraits  are  somewhat  stiff  and  hard, 
but  brilliant  and  rich  in  color,  and  full  of  character  and 
individuality. 

1  Portrait  of  Sir  Henry  Guildford. 

MIEREVEL  T  (Michael  Janszen).  1567-1641. 

His  first  work  was  a  series  of  altar-pieces  in  Utrecht,  but  he 
became  so  successful  in  portrait  painting  that  he  decided  to 
make  that  his  profession.  He  is  said  to  have  been  invited  by 
Charles  I.  to  visit  England,  but  declined  to  do  so  on  account 
of  the  prevalence  of  the  plague. 

2  Portrait  of  a  Young  Girl. 

JANSSENS  (CoRNELis  Van  Keulen).    i  590-1663. 

He  was  born  in  Amsterdam,  and  was  already  famous  in  his 
native  land  when  he  visited  England  in  1618.  He  was  well 
received,  and  painted  many  portraits  of  many  distinguished 
people,  among  them  several  of  King  James.  "  His  pictures 
are  easily  distinguished  by  their  clearness,  neatness,  and 
smoothness.     They  are  generally  painted  on  board  (panel), 

[5] 


and,  except  being  a  little  stiff,  are  often  strongly  marked  with 
a  fair  character  of  nature,  and  remarkable  for  a  lively  tran- 
quillity in  the  countenance  "  (Horace  Walpole). 

3  Portrait  of  a  Woman. 

4  Portrait  of  a  Young  Girl. 

VAN  GOYEN  (Eugen).    i  596-1666. 

He  was  born  in  Leyden,  and  studied  under  Van  de  Velde.  After 
a  short  stay  at  Haarlem  he  returned  to  Leyden,  and  went  to 
The  Hague  in  1631.  Ten  years  later  was  made  a  member 
of  the  Painters'  Guild.  He  was  one  of  the  earliest  of  the 
Dutch  landscape  painters. 

4a     A  Ferry. 

VAN  DYCK  (Sir  Anthony).  1599-1641. 

Born  at  Antwerp.  He  is  the  most  distinguished  of  Rubens' 
numerous  pupils.  He  travelled  in  Italy,  and  on  his 
return  to  Antwerp  at  once  became  famous  as  a  painter  of 
portraits  and  historical  subjects.  In  1632  he  was  knighted, 
and  became  "  principal  painter  to  their  Majesties  at  St.  James." 
"  Van  Dyck  imbibed  so  deeply  the  tints  of  Titian  that  he  is 
allowed  to  approach  nearer  to  the  carnations  of  that  master 
even  than  Rubens.  Sir  Anthony  had  more  delicacy  than  the 
latter,  but,  like  him,  never  reached  the  grace  and  dignity  of 
that  antique."    He  had  a  genius  for  portrait  painting. 

5  Portrait  of  a  Lady. 

LELY  (Sir  Peter).    1618-80.    (Pieter  Van  der  Faes.) 

A  native  of  Westphalia,  who  came  to  England  in  1641.  He 
was  court  painter  during  the  reigns  of  Charles  I.  and  Charles 
II.,  and  also  during  the  protectorate.  His  portraits,  though 
slight  and  somewhat  mannered,  are  pleasing  in  color  and  well 
drawn. 

[6] 


Portrait  of  a  Young  Girl  [4] 

By  CoRNELis  Van  Keulen  Janssens 


6  The  Duchess  of  Portsmouth  (nee  Louise 

de  Queroualle),  one  of  the  beauties  of 
the  court  of  Charles  II. 

7  Madame  Aphra  Behn. 

(From  the  collection  of  Philip  H.  Howard,  Esq.,  of  Cosby 
Castle,  Carlisle,  England.)  Exhibited  by  him  in  the  National 
Portrait  Exhibition. 


RILEY  (John).  1646-1691. 

A  man  of  modest,  unassuming  nature,  his  talents  were  ob- 
scured during  his  lifetime  by  the  fame  of  Kneller,  while  many 
of  his  best  pictures  were  afterwards  attributed  to  Lely.  Me 
painted  the  portraits  of  Charles  II.,  James  II.,  and  William 
and  Mary,  being  appointed  court  painter  to  the  latter.  Wal- 
pol^ays,  "His  art  was  original,  founded  on  his  own  obser- 
vation of  nature  ;  his  drawing  careful ;  expression  natural  and 
pleasing;  and  his  heads  and  hands  well  painted." 

8  Sacharissa. 

(From  the  Grindley  Collection.) 


KNELLER  (Sir  Godfrey).  1646-1723. 

Studied  in  the  school  of  Rembrandt,  at  Amsterdam,  and  later 
in  Italy,  returning  to  London  in  1674,  where  he  enjoved  an 
unrivalled  reputation  as  a  portrait  painter.  His  greatest  fault 
is  an  absence  of  simplicity  and  too  great  a  love  of  con- 
ventionality. 

9     The  Duchess  of  Portland. 
10     A  Lady  of  Qiiality. 

(From  the  Collection  of  William  Walton,  Esq.,  of  Harry- 
town  Hall,  Romilly,  Cheshire.) 

[7] 


HOGARTH  (William).  1697-1764. 

Was  early  apprenticed  to  a  silversmith,  and  later  became  an 
engraver  of  Coats  of  Arms,  shop  bills,  and  finally  engravings 
for  books.  A  firm  believer  in  the  truthful  delineation  of  life, 
his  belief  found  expression  in  a  series  of  satirical  pictures,  re- 
flecting on  the  social  abuses  of  his  time.  His  refusal  to  flatter 
his  subjects  seems  to  have  stood  in  the  way  of  his  success  as 
a  portrait  painter,  but  in  his  own  range  of  art  he  was  a  master 
draughtsman. 

1 1     Portrait  of  a  Young  Girl. 

I  2     Modern  Midnight  Conversation. 

(Formerly  the  property  of  Mr.  Samuel  Ireland,  author  of 
"  Hogarth's  Life.") 


DI  ROTARI  (CoNTE  PiETRo).  1707-1762. 

Born  in  Verona,  studied  in  Venice  and  Rome,  and  in  1756 
became  painter  to  the  court  of  St.  Petersburg.  He  was 
especially  skilful  in  the  arrangement  of  his  draperies,  and  un- 
surpassed by  any  painter  of  his  time  in  the  expressiveness  of 
his  heads  and  elegance  of  his  figures. 

13  Portrait  of  Count  Marcolini. 

WILSON  (Richard),  R.A.  1714-1782. 

First  began  his  career  as  a  portrait  painter,  but  later,  in  Italy, 
devoted  himself  to  the  study  of  landscape.  "  Purely  classic 
and  noble  in  his  conception,  he  gave  a  new  aim  and  impulse 
to  the  English  school."  He  loved  his  work  and  was  master 
of  his  materials. 

14  The  Bridge  of  Augustus  at  Rimini. 

(From  the  Collection  of  J.  Langham  Burton,  Esq.,  ot 
Somersby,  Lincolnshire.) 

15  Landscape. 

[8] 


REYNOLDS  (Sir  Joshua),  P.R.A.  1723-1792. 

Studied  in  England  and  later  in  Italy,  where  he  developed  his 
powers  of  criticism  and  became  imbued  with  the  beauties  of 
the  Italian  school.  On  his  return  to  London  he  soon  became 
prominent  as  a  portrait  painter.  He  was  chiefly  instrumental 
in  obtaining  the  charter  of  the  Royal  Academy,  of  which  he 
was  appointed  the  first  president  in  1768.  Breaking  away 
from  conventionality,  he  seized  every  new  action  or  expression 
that  nature  offered  him.  In  all  his  works  we  note  great 
power,  a  rare  beauty  of  background,  and,  above  all,  a  warmth 
and  richness  of  color,  which  was  his  greatest  characteristic. 
To  Reynolds,  the  English  school  owes  its  escape  trom  me- 
chanical monotony  in  color  and  technique. 

16  Portrait  of  Mrs.  Baldwin. 

In  a  costume  worn  by  her  at  a  fancy  dress  ball  given  b\ 
George  III.  (From  the  Strawberry  Hill  and  Wertheimer 
Collections.) 

17  Elizabeth,  Lady  Turner,  of  Glints,  York- 

shire. 

(From  the  Graves  Collection  and  that  of  Baron  Alfred  de 
Rothschild.) 

COTES  (Francis),  R.A.  1725-1770. 

One  of  the  earliest  members  of  the  Royal  Academy  and  a 
member  of  the  incorporated  Society  of  Artists.  He  was 
a  portrait  painter  in  oils,  and  also  very  skilful  in  the  use  of 
crayon. 

I  8     i^ortrait  of  a  Young  Girl. 

GAINSBOROUGH  (Thomas),  R.A.  1727-1788. 

An  artist  by  nature,  whose  love  of  art  was  nourished  by  the 
beauties  of  the  Suffolk  scenery,  bv  which  he  was  surrounded 

[9] 


from  early  childhood.  After  an  unsuccessful  struggle  in  Lon- 
don, both  as  a  portrait  and  landscape  painter,  he  returned 
to  Bath,  but  went  back  to  London  in  1774,  and  won  such  a 
reputation  that  he  was  considered  the  rival  of  Sir  Joshua  in 
portraiture  and  of  Wilson  in  landscape  painting.  Ruskin 
calls  him  "  the  purest  colorist  of  the  English  school,"  and 
again,  in  speaking  of  his  technique,  he  says  :  "  Turner  is  a 
child  to  him.  His  forms  are  grand,  simple  and  ideal.  His 
excellence  is  based  upon  principles  of  art  long  acknowledged, 
and  facts  of  nature  universally  apparent.  In  a  word,  he  is  an 
immortal  painter." 

19  Portrait  of  a  Lady  of  Quality. 

(From  the  Collection  of  the  late  William  Winch,  Esq.,  of 
Wyminus  Park,  Hatfield,  Herts.) 

20  Landscape. 

2 1  Landscape. 

22  Mrs.  Robinson  (nee  Elizabeth  Fortescue). 

(From  the  Collection  of  Lord  Arthur  Hill.) 


ROMNEY  (George).  1734-1802. 

During  his  apprenticeship  to  a  cabinet-maker  Romney  showed 
an  inclination  toward  art  by  making  sketches  of  his  fellow- 
workmen.  After  painting  portraits  in  London,  he  went 
to  Italy  for  two  years  of  study,  which  was  of  great  benefit  to 
him.  Romney  was  in  all  respects  an  enthusiast.  His  mind 
teemed  with  designs  for  important  works.  His  best  character- 
istics are  grace,  a  warmth  and  beauty  of  color,  and  a  great 
breadth  of  treatment.  His  method  of  painting  was  simple  and 
solid,  and  his  colors  stand  well. 

23  Portrait  of  Alexander  Blair. 

24  Lady  Hamilton. 

25  Lady  Beauchamp. 


WEST  (Benjamin),  P.R.A.    i 738-1 820. 

Born  in  Chester  County,  Pennsylvania.  He  early  showed  a 
taste  for  art,  and  after  studying  in  Italy  he  went  to  London, 
where  he  met  with  a  flattering  reception,  and  for  nearly  sixty 
years  held  a  most  important  position  among  English  artists. 
He  exerted  a  strong  influence  in  favor  of  realism  and  natural- 
ness in  art  by  his  refusal  to  paint,  according  to  usage,  the  actors 
in  his  "  Death  of  Wolfe  "  in  classic  costume.  In  1765  he 
became  a  member  and  Director  of  the  Incorporated  Societv  of 
Artists, in  1772  "  Historical  Painter  to  the  King,"  and  in  1792 
was  made  President  of  the  Royal  Academy. 

26     The  Death  of  King  David. 

(From  the  Magnic  Collection.) 


SMIRKE  (Robert),  R.A.  1752-1845. 

One  of  the  principal  early  English  painters  of  genre.  He  was 
made  an  Academician  in  1792,  but  rarely  exhibited,  devoting 
his  time  chiefly  to  book  illustration,  for  which  his  art  was  well 
adapted.  "  His  works  are  marked  by  a  quiet,  graceful 
humor,  are  well  drawn,  cleverly  painted,  and  always  pleasing." 

27  The  New  Page. 

28  The  Obdurate  Mother. 


BEECHEY  (Sir  William),  R.A.  1753-1839. 

Admitted  as  a  student  to  the  Royal  Academy  in  1772;  and, 
after  distinguishing  himself  in  London  in  portraiture,  he  be- 
came portrait  painter  to  Queen  Charlotte  and  Instructor  to 
the  Princesses.  His  portraits  are  celebrated  for  their  truth 
and  accuracy,  and  for  the  delicacy  and  sweetness  of  their 
coloring. 

29     Lady  Becchey. 

(Exhibited  in  the  Royal  Academy  in  1800.) 
[■■] 


STOTHARD  (Thomas),  R.A.  1755-1834. 

Entered  the  school  of  the  Royal  Academy  in  1777,  was 
elected  Academician  in  1794,  and  contributed  to  its  exhi- 
bitions from  1798  until  his  death.  These  contributions  were 
chiefly  book  designs,  with  occasionally  a  work  of  more  impor- 
tance. Although  his  figures  are  somewhat  conventional,  they 
possess  a  classic  beauty  of  line.  Grace  and  sweetness  are  his 
distinguishing  characteristics. 

30  The  May  Queen. 

RAEBURN  (Sir  Henry),  R.A.  1756-1823. 

Born  in  Stockbridge,  near  Edinburgh.  He  visited  Italy,  but 
later  established  himself  permanently  in  Edinburgh,  and  was 
made  president  of  the  Edinburgh  Society  of  Artists  in  18 12. 
In  1815  he  became  a  member  of  the  Royal  Academy,  and  in 
1822  was  appointed  "His  Majesty's  Limner  for  Scotland." 
His  portraits  are  distinguished  for  great  breadth  of  treatment 
and  character.  Although  influenced  by  Reynolds,  his  manner 
of  execution  was  more  like  that  of  Gainsborough,  yet  lacking 
in  that  pearly  freshness  which  characterizes  Gainsborough's 
work. 

3 1  Portrait  of  Jean,  daughter  of  Sir  Ewen 

Cameron,  of  Fassiefern,  and  wife  of 
Roderick  McNeill,  of  Barra. 

32  Doctor    Welsh    Tennent,    of  Tennent 

House,  Fyfe. 

33  Lord  Hamilton. 

HOPPNER  (John),  R.A.  1758-1810. 

A  student  at  the  Royal  Academy  in  1775,  associate  member 
in  1793,  and  two  years  later  elected  an  Academician.  His  style 


Portrait  of  Jean,  Daughter  ot  Sir  Ewen  Cam- 
eron [3  i] 

By  Sir  Henry  Raebi  rn,  R.A. 


was  formed  somewhat  on  that  of  Sir  Joshua  Reynolds,  but 
he  was  far  from  being  an  imitator.  Although  essentially  a 
portrait  painter,  a  powerful  rival  of  Sir  Thomas  Lawrence, 
and  peculiarly  happy  in  his  treatment  of  women  and  children, 
he  also  excelled  in  landscape  painting. 

34  Portrait  of  a  Young  Girl. 

OPIE  (John),  R.A.  1761-1807. 

Born  near  Truro,  Cornwall.  Having  already  shown  many 
proofs  of  his  genius,  he  became  a  protege  of  Dr.  Wolcott 
(Peter  Pindar),  under  whose  auspices  he  visited  Lon- 
don in  1780,  and  became  known  as  the  "Cornish  Wonder." 
His  work  is  remarkable  for  vigor  and  truth  rather  than  for 
dignity  and  grace.  The  best  of  his  historical  and  romantic 
subjects  show  a  curious  sense  of  style,  which  is  lacking  in  many 
such  pictures  of  the  period.  He  was  elected  professor  in  the 
Royal  Academy  in  i8o6. 

35  Lady  Hamilton. 

36  Portrait. 

MORLAND  (George),    i  763-1 804. 

His  early  youth  gave  evidence  of  strong  artistic  power,  which 
grew  with  time,  but  he  became  a  victim  of  dissipation.  "  His 
genius,  his  moral  character,  and  the  circumstances  under  which 
he  produced  his  works,  many  of  them  to  discharge  an  ale 
score,  entitle  him  to  be  regarded  as  the  Sheridan  of  artists." 
As  a  painter  of  rustic  subjects  he  has  attained  almost  unexam- 
pled popularity,  and  has  had  this  influence  upon  the  progress 
of  English  art, —  that  he  showed  there  was  a  store  of  subjects 
in  his  native  surroundings,  and  a  public  to  appreciate  them. 

37  Noonday. 

Was  in  Exhibition  of  Old  Masters  at  Royal  Academy  in 
1876. 

['3] 


38  Contentment. 

Was  exhibited  at  World's  Columbian  Exhibition  in  1893. 

39  Interior  of  a  Stable. 

40  Portrait  of  H.  Wright,  Esq. 

LAWRENCE  (Sir  Thomas),  P.R.A.    i 769-1 830. 

Was  early  influenced  by  Sir  Joshua  Reynolds,  and  after  an 
attempt  at  classical  art  devoted  himself  to  portrait  painting. 
He  was  appointed  "Painter  in  Ordinary"  to  the  King  in 
179a,  and  succeeded  West  as  President  of  the  Royal  Academy 
in  i8ao.  No  English  painter,  except  perhaps  Reynolds,  has 
been  happier  in  his  portrayal  of  groups  of  mothers  and  children. 
His  portraits  of  men  were  apt  to  be  less  well  drawn  and  lack- 
ing in  character.  Nevertheless,  those  of  the  Emperor  Francis, 
of  Pius  VII.,  and  of  Cardinal  Gonsalon,  at  the  Waterloo  Gallery 
at  Windsor,  are  among  the  greatest  masterpieces  of  portraiture 
extant. 

41  Miss  Barron.    (Afterwards  Mrs.  Ramsay.) 

42  Marchioness  of  Ely. 

43  Lady  Dunmore. 

44  Mrs.  Charles  James  Fox. 

45  Canova. 

(Exhibited  at  the  Midland  Counties  Art  Museum,  Not- 
tingham Castle,  in  1881.) 

BARKER  (Thomas).    ("  Barker  of  Bath.")    1 769-1 847. 

In  drawing  and  painting,  Barker  never  took  a  lesson,  yet  his 
numerous  productions  show  abundant  marks  of  genius,  being 
bold  and  firm  in  outline  and  correct  in  modelling.  In  early 
years  he  copied  the  works  of  old  Dutch  and  Flemish  masters, 
and  later  visited  Rome.    He  was  an  occasional  exhibitor  at 

[14] 


the  Royal  Academy  and  at  the  British  Institution  for  nearly 
half  a  century,  and  while  in  full  vigor,  no  artist  stood  higher  in 
popular  favor. 

46  The  Shepherd  Dog. 

(Painted  in  1837.) 

CROME  (John).    ("Old  Crome.")  1769-1821. 

As  a  youth  he  struggled  against  poverty  and  lack  of  education, 
but  under  the  patronage  of  Sir  William  Beechey  he  was  enabled 
to  satisfy  his  thirst  for  art  to  some  degree.  He  founded  the 
Norwich  Society  of  Artists,  of  which  he  was  made  President  in 
1 8 10.  His  landscapes  were  generally  painted  in  his  studio 
from  careful  studies  and  sketches  from  nature,  and  show  a  won- 
derful power  of  observation  and  a  keen  appreciation  of  beauty. 

47  The  Edge  of  the  Wood. 

(From  the  Collection  of  Dawson  Turner,  Esq.,  of  Norwich, 
who  purchased  it  from  the  artist.) 

48  Landscape. 

CONSTABLE  (John),  R.A.  1776-1837. 

Born  at  East  Bergholt,  Suffolk.  He  was  first  widely  esteemed 
in  France,  and  did  much  to  influence  French  landscape  paint- 
ing. His  friend  and  biographer,  Leslie,  thus  writes  of  his 
works :  "  I  cannot  but  think  that  they  will  attain  for  him, 
when  his  merits  are  fully  acknowledged,  the  praise  of  having 
been  the  most  genuine  painter  of  English  landscape  that  has 
ever  yet  lived."  At  the  beginning  of  his  career,  being  asked 
by  Sir  George  Beaumont  what  style  he  proposed  to  adopt,  he 
replied,"  None  but  God  Almighty's  style.  Sir  George."  He 
represents  English  landscape,  not  "  trimmed  and  frounced," 
but  as  it  holds  its  own  on  wild  heaths  or  ferny  commons. 

49  Hampstead  Heath. 

(From  the  Murietta  Collection  and  formerly  in  the  pos- 
session of  the  Marchesa  de  Santuse.) 

['5] 


CALCOTT  (Sir  Augustus  Wall),  R.A.  1779-1844. 

Studied  under  Hoppner,  at  first  giving  his  attention  to  por- 
traiture, but  later  exclusively  to  landscape,  the  true  bent  of  his 
genius.  He  was  elected  a  Royal  Academician  in  18 10.  His 
early  Dutch  and  English  landscapes  are  among  his  best  works. 
They  show  great  purity  of  tone  and  color,  and  represent 
nature  in  her  most  placid  and  gentle  moods.  His  marine  pict- 
ures, though  beautiful  as  to  subject,  are  sometimes  monot- 
onous in  color.  His  Italian  landscapes  charm  by  their 
graceful  composition  and  tasteful  rendering.  He  is  sometimes 
called  "  the  English  Claude." 

50     Warwick  Castle. 

(From  the  Collection  Lucy.) 

5  I     View  of  Greenwich. 

COTMAN  (John  Sell).  1782-1842. 

Exhibited  in  the  Royal  Academy  from  1800  to  1806,  but  re- 
turned to  Norwich,  where  he  became  a  member  of  the  Nor- 
wich Society  of  Artists,  and  vice-president  of  the  same  in  18 10. 
His  landscapes  are  broad  and  masterly,  his  light  and  shade 
good,  and  his  coloring  rich,  although  a  hot  yellow  occasionally 
predominates. 

5  2     Signal  Tower  at  Yarmouth. 

(From  the  Collection  of  Frederick  Chapman,  Esq.,  of 
Dudley  Hall,  Gloucestershire.) 

WILKIE  (Sir  David),  R.A.  1785-1841. 

Born  at  Cults,  Fifeshire,  Scotland.  He  early  showed  so  keen 
a  love  of  art  that  his  father  placed  him  in  the  Trustees' 
Academy  in  Edinburgh  in  1799,  where  he  worked  faith- 
fully, and  acquired  much  technical  skill.  He  studied  later  in 
the  Royal  Academy,  and  in  France,  Italy,  and  Spain.  He 
was  elected  full  Academician  in  18 11,  and  succeeded  Sir 
Thomas  Lawrence  as  "  Painter  in  Ordinary  "  to  the  King  in 

[16] 


1 830.  His  early  pictures,  full  both  of  humor  and  pathos, 
attract  and  interest  the  unschooled  observer,  while  by  their  art 
and  finish  they  satisfy  the  critic  and  connoisseur.  His  finest 
works  are  rivals  on  canvas  of  the  poems  of  Robert  Burns  and 
the  stirring  incidents  of  Sir  Walter  Scott's  stories. 

5  3     Market  Day  at  St.  Andrew's,  Scotland. 

(From  the  Collection  of  Alfred  Woodewiss,  Esq.,  Derby.) 


NASMYTH  (Patrick).    1787-183  i. 

He  early  showed  a  decided  predilection  for  landscape  paint- 
ing, first  exhibiting  in  the  Royal  Academy  in  1 809,  and  be- 
coming a  member  of  the  Society  of  British  Artists  in  1824. 
He  painted  English  scenery  in  her  simplest  moods,  yet  with 
great  force  and  truth,  taking  as  his  models  the  two  masters  of 
Dutch  landscape,  Hobbema  and  Wynants. 

54     Dunkeld  Ferry.    View  on  the  Tay. 

(From  the  Albert  Levy  Collection.) 


ETTY  (William),  R.A.  1787-1849. 

A  constant  student  in  the  Royal  Academy,  and  also  a  pupil  of 
Sir  Thomas  Lawrence.  Visited  Italy  in  1822,  finding  his 
greatest  attraction  in  Venice,  which  he  described  as  *'  the 
birthplace  and  cradle  of  color,  the  hope  and  idol  of  my  pro- 
fessional life."  He  became  an  Academician  in  1828,  and 
studied  constantly  in  the  life  school  until  1848.  Etty  de- 
lighted in  painting  the  nude,  especially  the  female  form,  and, 
as  a  colorist,  has  few  equals  in  the  English  school.  His  land- 
scape backgrounds  never  fail  to  be  well  in  character  with  his 
subjects.  His  perseverance  was  unswerving,  as  was  his  love 
of  art. 

55     A  Study  of  the  Nude. 

(From  the  Deunstone  Collection.) 

[>7] 


COLLINS  (William),  R.A.  1788-1847. 

Student  at  the  Royal  Academy  in  1 807  and  Academician  in 
1820.  He  later  visited  Italy  for  two  years.  He  was  a  de- 
vout imitator  of  nature  and  a  good  colorist,  though  a  some- 
what indifferent  draughtsman.  He  loved  to  paint  English 
coast  scenes  and  landscapes,  and  upon  these  works  his  fame 
chiefly  rests. 

56  Children  Playing  with  a  Bird's  Nest. 

(From  the  Charles  Wells  Collection.) 

LINTON  (William).  1788-1876. 

Attracted  by  art,  he  studied  the  works  of  Claude  and  Wilson, 
and  first  exhibited  in  the  Royal  Academy  in  18 17.  He  was 
a  landscape  painter  of  the  classic  school,  and  made  a  great 
many  sketches  on  the  Continent,  from  which  his  pictures  were 
later  composed. 

57  The  Mountain  Lake. 

INSKIPP  (James).  1790-1868. 

A  frequent  contributor  to  the  Royal  Academy  and  the  Society 
of  British  Artists.  He  first  painted  landscapes,  and  later 
portraits  and  domestic  subjects;  but  his  temper  was  ill  fitted  to 
contend  with  the  trials  of  portrait  painting. 

58     A  Surrey  Peasant  Girl  Returning  from 
Market. 

LINNELL  (John).  1792- 

He  showed  a  remarkable  aptitude  for  art  in  his  early  years,  and 
by  the  advice  of  Benjamin  West  he  became  a  student  in  the 
Royal  Academy  at  Somerset  House,  into  which  he  was  admitted 
in  1805.  He  painted  both  portrait  and  landscape,  and  was  pre- 
eminently a  colorist,  whose  fame  rests  chiefly  on  his  warm  and 
glowing  atmospheric  effects. 

[18] 


Miss  Barron,  afterwards  Mrs.  Ramsay 

By  Sir  Thomas  Lawrence,  P.R.A. 


59  Noonday. 

(From  the  John  Gibbons  Collection.) 

STANFIELD  (William  Clarkson),  R.A.  1794-1867. 

While  a  boy  he  entered  the  naval  service  and  there  gained  that 
knowledge  of  the  sea  which  makes  his  marine  sketches  so  true  to 
life.  Having  been  disabled  by  a  fall,  he  turned  his  attention  to 
art,  and  his  reputation  as  a  marine  painter  grew  steadily.  He 
became  a  member  of  the  Royal  Academy  in  1835,  and  in  18J9 
he  visited  Italy,  which  impressed  him  greatly.  He  was  a  master 
of  his  art. 

60  Coast  Scene. 


STARK  (James).  1794-1859. 

Belonged  to  the  Norwich  School  and  studied  under  "  Old 
Crome,"  and  also  in  the  Royal  Academy.  His  subjects  are 
woodland,  river,  and  coast  scenes,  which  are  truthfully  depicted, 
although  sometimes  lacking  in  richness  and  force. 

6  1     Near  Thorpe. 

(From  the  Collection  of  Arthur  Anderson,  Esq.) 

62  Landscape. 

HERRING  (John  Frederick).  1795-1865. 

The  son  of  American  parents,  and  when  a  young  man  he  drove 
the  coach  between  York  and  London.  He  devoted  his  leisure 
time  to  painting,  often  choosing  his  subjects  from  the  scenes 
with  which  he  became  familiar  on  the  road.  He  became  a  mem- 
ber of  the  Society  of  British  Artists  in  1841,  and  occasionally 
exhibited  at  the  Royal  Academy.  His  work  was  very  popular, 
and  he  often  received  commissions  from  George  IV.,  the  Duch- 
ess of  Kent,  and  Queen  Victoria. 

[•9] 


63  Landscape. 

(From  the  Collection  of  T.  W.  Woodhouse,  Esq.,  ot 
Wolverhampton.) 

VINCENT  (George).  1796-1830. 

Belonged  to  the  Norwich  School,  and  exhibited  in  the  Royal 
Academy  from  18 14  to  1823.  He  rarely  introduced  trees  or 
foliage  as  prominent  objects  in  his  pictures,  and  in  his  later 
works  preferred,  like  Constable,  to  represent  the  sun  as  over- 
head, or  with  the  light  streaming  through  a  rift  in  warm  gray 
masses  of  cloud, 

64  Landscape. 

(From  the  Collection  of  A.  W.  Dunn,  Esq.,  of  Liver- 
pool.) 

65  Leith  Harbor. 

66  Landscape. 

BONINGTON  (Richard  Parks).  1801-1828. 

Studied  in  England  and  at  the  Louvre,  and  when  twenty- 
one  years  of  age  went  to  Italy.  Although  he  had  achieved 
a  reputation  in  France,  he  was  practically  unknown  in  Eng- 
land until  1826,  when  he  exhibited  two  French  coast  scenes 
in  the  British  Institution,  which  were  immediately  appreciated. 
His  influence  upon  the  French  school  of  genre  and  dramatic 
art  was  very  great.  His  works  were  marked  by  their  origi- 
nality, their  rich  color,  and  by  their  broad  masses  of  light 
and  shade. 

67  Italian  Landscape. 

LANDSEER  (Sir  Edwin),  R.A.    i 802-1 873. 

Early  showed  a  genius  for  drawing,  which  was  developed  under 
his  father's  teaching.    Entered  the  Royal  Academy  as  a  stu- 

[20] 


dent  in  1816,  having  already  exhibited  there  his  "  Heads  of  a 
Pointer  Bitch  and  Puppy,"  and  in  1831  became  a  full  mem- 
ber. "  His  skill  endowed  animals  with  something  more  than 
instinct,  sometimes  highly  pathetic,  sometimes  of  the  most 
subtle  humor.  His  power  of  execution  was  dexterous  and 
rapid ;  the  facile  treatment  of  his  textures,  fur,  wool,  skin,  or 
feathers,  unsurpassed ;  his  composition  without  effort,  yet 
always  good." 

68     The  Dog  Jolly. 


DAWSON  (Henry).  1811-1878. 

With  the  exception  of  a  few  lessons  from  Pyne,  he  was  en- 
tirely self-taught.  In  later  life  he  was  somewhat  influenced  by 
Turner's  methods,  and  tried  to  get  his  brilliant  effects  ;  but 
there  is  so  much  originality  in  his  work  that  he  hardly  should 
be  ranked  as  an  imitator.  His  work  was  comparatively  little 
known,  except  to  artists  and  connoisseurs,  until  the  year  of  his 
death,  when  the  Nottingham  Exhibition  brought  him  wider 
fame. 

69  Landscape. 


MUELLER  (William  James).  1812-1845. 

A  landscape  painter  whose  brief  career  was  crowned  with  suc- 
cess. He  exhibited  in  the  Royal  Academy  in  1833,  and  made 
a  large  number  of  interesting  sketches  in  Germany,  Switzer- 
land, and  Italy,  and  later  in  Greece,  Egypt,  and  Lycia.  He 
had  a  lively  imagination.  His  style  was  broad  and  simple, 
and  his  color  rich. 

70  A  View  in  North  Wales. 

(From  the  Baring  Collection.) 

7 1  Landscape. 

[21] 


WATTS  (George  Frederick),  R.A.    Born  February  23,  18 17. 

One  of  the  distinguished  masters  of  the  English  school.  He 
was  elected  an  Associate  of  the  Royal  Academy  in  1867,  and 
an  Academician  shortly  afterwards.  With  rapid  steps  he 
attained  the  highest  honors  of  his  profession,  and  still  works 
on,  constantly  developing  new  interests  and  powers.  "  What- 
ever stirs  this  mortal  frame,  whether  passions  high  or  low, 
beauty  or  intellect,  religion  or  philosophy, —  these  have  ever 
been,  and  still  are,  the  true  objects  of  his  art." 

72  Mrs.  Prinsep. 

(Mrs.  Prinsep  was  a  sister  of  Countess  Somers  and  aunt 
of  Lady  Henry  Somerset.) 

MASON  (George  Hemming),  A.R.A.    18 18-1872. 

Studied  for  the  medical  profession,  but  abandoned  it  for  art 
in  1 844,  studying  and  painting  in  Rome.  Returned  to  Eng- 
land in  1857,  and  exhibited  in  the  Royal  Academy  from  1862 
to  the  time  of  his  death.  Palgrave  says  of  his  work :  "  The 
colors  are  uncommonly  tender  and  bright.  The  greys  are 
managed  with  a  skill  which  all  who  have  handled  the  brush 
will  envy." 

73  Spring  Ploughing. 


WILLCOCK  (George  Barrett). 

74  A  Thunderstorm  at  Hampstead  Heath. 

INMAN  (Henry),    i 802-1 846. 

Born  in  Utica,  N.Y.  Portrait,  genre,  and  landscape  painter. 
Displayed  decided  talents  for  art  as  a  lad,  and  studied 
under  Jarvis,  in  New  York.  He  went  to  Europe  in  1845, 
and  while  there  painted  Wordsworth,  Macaulay,  Dr.  Thomas 
Chalmers,  and  others. 

75  Portrait  of  Mrs.  J,  W.  Wallack. 


WALDO  AND  JEWETT. 

Samuel  Waldo  was  born  in  Connecticut  (1783-1861)  and 
studied  there.  Later  painted  in  Charleston,  S.C.  In  1806 
he  went  to  London,  painting  portraits  there  for  three  years. 
He  returned  to  the  United  States  in  1809,  when  he  opened 
a  studio  in  New  York. 

76  Portrait  of  a  Lady. 

PARKER  (Stephen  Hills). 

77  Portrait  of  a  Lady. 

78  Portrait  of  a  Lady.  (Artist  unknown.) 

PHILLIPS  (Thomas),  R.A.  1770-1845. 

Born  at  Dudley,  Warwickshire.  In  1790  he  went  to  London 
with  a  letter  to  Benjamin  West,  who  employed  him  to  paint 
the  glass  for  St.  George's  Chapel,  Windsor.  He  soon  took 
up  oil  painting,  in  which  he  acquired  distinction,  and  exhibited 
at  the  Royal  Academy.  His  portraits  are  dignified,  truthful, 
and  good  in  color.  He  became  a  member  of  the  Roval 
Academy  in  1808,  and  later  Professor  there. 

79  Portrait  of  Thomas  Moore. 

STUART  (Gilbert  Charles).  1756-1828. 

Born  in  Narragansett,  R.I.  He  studied  with  Alexander,  and 
in  1778  he  set  sail  for  London,  arriving  there  "full  of 
poverty,  enthusiasm,  and  hope."  When  West  heard  of  him 
and  his  circumstances,  he  sent  him  money  and  an  invi- 
tation to  his  studio.  While  under  his  roof  he  painted  a  full- 
length  portrait  of  West,  which  was  greatly  admired.  A  strong 
desire  to  paint  Washington's  portrait  alone  induced  him  to 


return  to  America,  and  in  1794  he  went  to  Philadelphia  for 
that  purpose.  As  a  painter  of  heads,  Stuart  stands  in  the 
highest  rank.  His  work  shows  that  exquisite  sense  of  unity 
which  only  a  man  of  genius  can  express.  It  is  not  only 
harmonious  in  color  and  line,  but  also  in  light  and  shade. 

80  Portrait  of  George  Washington. 

PEALE  (Rembrandt). 

Born  in  Pennsylvania  in  1778,  and  in  1795  painted  a  portrait 
of  General  Washington,  which  has  been  frequently  copied  by 
himself  and  others.  He  studied  art  with  his  father,  Charles 
Wilson  Peale,  and  with  Benjamin  West  in  London  until 
1804.  He  lived  in  Paris  for  three  years,  returning  to  America 
in  1809.  He  painted  many  people  of  note  on  both  sides  of 
the  Atlantic. 

81  Portrait  of  George  Washington. 

*FRANCONA. 

82  Portrait  of  Henry  Clay. 

SEAMAN  (Emery). 

83  Portrait  of  Daniel  Webster. 

CROPSEY  (J.  F.). 

Born  on  Staten  Island  in  1823.  Was  in  an  architect's  office 
for  five  years,  when  he  turned  his  attention  to  landscape  paint- 
ing and  especially  to  autumn  scenery. 

84  The  Mellow  Autumn  Time. 

*In  an  autograph  letter  to  Hamilton  H.  Jackson,  Esq.,  now  in  Mr.  McCormick's 
possession,  Henry  Clay  writes  :  "  Mr.  Francona,  at  the  instance  of  your  liberality,  has 
made  a  portrait  of  me,  which,  as  far  as  I  can  judge,  is  a  good  likeness.  He  has  succeeded 
in  some  features  in  respect  to  which  most  of  the  artists  have  failed."  Mr.  McCormick 
believes  that  Mr.  Clay  was  mistaken  in  the  name  of  the  artist,  as  no  such  name  can  be 
found  in  any  record. 

[^4] 


Portrait  [36] 

By  John  Opie.  R.A. 


HERTZOG  (Hermann). 

85     Wallenstadter  See. 


LITSCHAUER  (Carl  Joseph). 
86     The  Counterfeiters. 


ALLSTON  HALL. 
Collection  of  (/^)  Pictures  by  Mr.  Byam  Shaw,  entitled 
"Thoughts  Suggested  by  Some  Passages  from  British 
Poets." 

SHAW  (Byam),  R.A.    Born  in  1872. 

From  his  childhood  every  effort  seems  to  have  been  made  to 
guard  h.m  from  artistic  evil  and  surround  him  with  that  which 
IS  healthy  and  true.  When  he  was  eight  years  old.  he  became 
a  pupil  of  J.  A.  Vmter,  and  was  made  a  member  of  the  Royal 
Academy  m  ,890.  Two  years  later  he  won  the  Armitage 
competition  prize  for  his  "Judgment  of  Solomon"  and  in 
1893  another  prize  for  a  decorative  design.  Byam  Shaw  is 
one  of  the  younger  pre-Raphaelites,  and  has  been  strondv 
influenced  by  its  master  Rossetti.  He  is  a  true  lover  of 
beauty  and  a  close  student  of  human  nature. 

I 

Winter  reigneth  o'er  the  land. 

Bishop  Walsham  How. 


2 


3 


We  think  her  white  brows  often  ached 
Beneath  her  crown. 

Christina  Rossetti. 

Will,  if  looking  well  can't  move  her, 
Looking  ill  prevail  ? 

Sir  J.  SucKLiNc;. 


The  Spring  spreads  one  green  lap  of  flowers, 
Which  Autumn  buries  at  the  fall. 

Christina  Rossetti. 

When  musing  on  companions  gone, 
We  doubly  feel  ourselves  alone. 

Scott. 

Was  this  fair  face  the  cause,  quoth  she. 
Why  the  Grecians  sacked  Troy  ? 

Shakespeare. 

And  all  winds  go  sighing 
For  sweet  things  dying. 

Christina  Rossbtti. 

Maud  Clare. 

Christina  Rossetti. 


God 's  in  his  heaven  — 
All 's  right  with  the  world. 

Browning. 

0  Maud. 

.  .  .  When  alone  she  sits  by  her  music  and  books. 

Tbnnyson. 

1  Cupid  and  Campaspe. 

O  Love !  has  she  done  this  to  thee  ? 

What  shall,  alas  !  become  of  me  ? 

J.  Lylye. 

2 

Or  thought,  as  his  own  mother  kissed  his  eyes. 
Of  what  her  kiss  was  when  his  father  wooed  ? 

D.  G.  Rossetti. 

O26] 


13 

Come,  in  God's  name,  come  down !  do  anything,  but  be 
something. 

Clough. 

14 

While  roses  are  so  red, 

While  lilies  are  so  white, 
Shall  a  woman  exalt  her  face. 

Because  it  gives  delight  ? 

Christina  Rohetti. 

Two  thousand  pounds  of  education 
Drops  to  a  ten-rupee  '  jezail.' 

RUDYARD  KiPLINC. 

16     Amor  Mundi. 

Nay,  too  steep  for  hill  mounting;   nay,  too  late  for  cost 
counting ; 

This  down  hill  path  is  easy,  but  there's  no  turning  back. 

Christina  Rohitti. 

Why  so  large  cost,  having  so  short  a  lease, 
Dost  thou  upon  thy  fading  mansion  spend  ? 

Shakespeare. 

18 

Maggie  has  written  a  letter  to  give  me  my  choice  between 

A  wee  little  whimpering  Love  and  the  Great  God  Nick  o'  Teen. 

RuDYARD  Kipling. 

19     Stratton  Water. 

He 's  drawn  her  face  between  his  hands, 
And  her  pale  mouth  to  his. 

D.  G.  Rossetti. 

The  frames  were  designed  by  and  made  under  the  supervision  of  the  arti»t. 

{London  Morning  Post^  May  1 1,  1899.) 

The  congenial  alliance  between  poetry  and  painting  is  exempli- 
fied in  a  fashion  not  less  impressive  than  fanciful  through  a  series  of 

[^7] 


cabinet  pictures  now  on  view  at  Messrs.  Dowdeswell's  gallery,  New 
Bond  Street.  In  these  dainty  little  works,  figure-subjects  all,  painted 
on  panel  with  remarkable  beauty  of  color  and  accuracy  of  execution, 
the  heroes  and  heroines  have  been  chosen  sometimes  from  the  writ- 
ings of  Shakespeare,  but  more  frequently  from  those  of  Clough, 
Browning,  Tennyson,  Christina  Rossetti,  and  a  few  other  poets  of  less 
eminent  rank.  The  numerous  personages  of  the  changeful  scenes  are 
depicted  with  such  strength  and  variety  of  dramatic  spirit  and  amid 
such  picturesque  diversity  of  incidents  and  accessories  as  win  attention 
and  interest  at  a  glance.  The  artist  is  Mr.  Byam  Shaw,  for  whom,  he 
being  still  very  young,  a  brilliant  career  may  be  confidently  predicted. 

[London  Daily  Telegraph,  May  ii,  1899.) 

Certainly  in  none  of  the  larger  and  more  ambitious  works  of 
this  promising  young  artist  has  he  yet  so  vindicated  his  right  to  be 
classed  among  the  true  poet-painters  of  English  growth  as  here  in  these 
fantasies,  avowedly  based  on  the  fantasies  of  poets,  yet,  as  they  should 
be,  seen  with  the  painter's  eye,  rather  than  thought  out  in  the  brain 
of  the  deliberately  poetic  litterateur. 

20     Love,  the  Conqueror. 

(Through  the  courtesy  of  Messrs.  Dowdeswell  &  Dowdes- 
well,  of  London,  this  picture  has  been  loaned.) 

[London  Sun,  May  i,  1899.) 

Mr.  Byam  Shaw's  strong  picture  "  Love,  the  Conqueror  "  will 
undoubtedly  be  the  picture  of  the  year  at  the  Royal  Academy.  From 
the  gate  of  a  mediaeval  city  by  the  sea  issues  forth  the  procession  of 
those  who  have  immortalized  Love, —  Dante,  Mark  Anthony,  Beetho- 
ven, Cleopatra,  Mary  of  Scotland,  Washington,  Pocahontas,  Shakes- 
peare, all  the  world's  great  lovers,  held  in  silken  bondage  by  cherubs. 
In  the  centre,  on  a  black  horse,  is  Love,  the  Conqueror,  behind  him  a 
serried  array  of  scarlet-clad  heralds.  It  is  a  beautiful  and  original  idea 
that  Mr.  Shaw  carries  out  in  his  somewhat  bizarre  yet  powerful  style, 
whilst  the  vivid  hard  color  is  daringly  but  effectively  handled. 

[28] 


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dieted  dcMtff^/a\^X)'^  WUluunvX. 

THIS  NEW  ART  PUBLICATION  CONSISTS  OF  A  SERIES 
of  Monographs  issued  in  the  form  ot  a  Monthl)  Magazine.  Each  issue, 
complete  in  itself,  aims  to  adequately  illustrate  and  thoroughly  describe  the 
work  of  one  of  the  "Old  Masters"  of  painting.  Ten  exquisite  full-page  Re- 
productions of  his  most  beautiful  and  characteristic  Pictures  are  given,  together 
with  his  Portrait. 

THE  REPRODUCTIONS  PRESERVE  NOT  ONLY  THE  ASPECT 
but  the  artistic  "quality  "  of  the  originals.  They  may  be  detached  for  framing 
or  mounting.  The  Text  of  each  issue  gives  the  Life  of  the  Painter  under  con- 
sideration, together  with  a  LJst  of  his  Works,  descriptions  of  his  most  famous 
Pictures,  an  account  of  his  "School,"  and  a  reference  Bibliography  of  the  litera- 
ture concerning  him. 

THE  GREATER  PART  OF  THE  TEXT,  HOWEVER,  CONSISTS 
of  Quotations  from  what  the  most  eminent  Art  Critics  of  the  world  have  written 
concerning  him,  thus  bringing  to  the  student  the  fruit  of  the  world's  best  Critical 
Judgment  about  the  Artist. 

THE  MAGAZINE  BEGAN  WITH  THE  ISSUE  FOR  JANUARY, 
1900.  The  three  numbers  already  published  deal  respectively  with  Van  Dyck 
(Part  I,  January,  1900),  Titian  (Part  2,  February,  1900),  and  with  Velasquez 
(Part  3,  March,  1900). 

THE  PUBLISHERS  WILL  SEND  A  FULL-SIZED  SAMPLE  RE- 
production,  together  with  a  detailed  Prospectus  on  application  ;  or  they  will  send 
a  Sample  Copy  of  any  of  the  issues  mentioned  above  for  i  5  cents. 

YKARLY  SUBSCRIPTION  PRICE,  ONE  DOLLAR  AND  A    HALF,  POSTPAID. 
S1N(;LF.  COPIES,  FIFTEEN  CENTS,  POSTPAID. 


BatcsantKiuiliidompanij. 
]RiiI)Ii0l)ei|! 


ART 


WORK  IN  METALS 

ELECTRIC   AND   GAS  FIXTURES 

ANDIRONS  AND  FIREPLACE 


FITTINGS 


SHREVE,  CRUMP  ^  LOW  CO. 

Invite  architects  to  their  products  in  varied 
metals,  representing  different  periods,  from 
the  earliest  Italian  Renaissance  to  the  present 
time.  Designs  carefully  executed.  *Mi  ^  ^ 
Estimates  furnished  and  drawings  submitted. 


SALESROOM,   No.    147   TREMONT  STREET 
FOURTH   AND   FIFTH  FLOORS 

FACTORY,  No.  16  RANDOLPH  STREET 


Tiffany  Favrile  Glass 

Lamps  Bronzes  Candlesticks 

for  Raster 

On  Exhibition  and  Sale  at  the  Fine  Art  Rooms  of 

DOLL  &  RICHARDS 

2  PARK  STREET 

Dealers  in  Oil  Paintings,  Water  Colors,  Etchings,  Engravings,  etc. 

Carbon  and  other  Photographs.    Picture  Frames. 

EXHIBITIONS  IN  THE  GALLERY 

[30] 


Drapery  &  Furniture 


WE  beg  to  call  atten- 
tion to  our  extensive 
Upholstery  Depart- 
m  e  n  t  ,  where  we  ha  v c 
unrivalled  facilities  for  the 
execution  of  contracts  for 
Wall  Hangings,  Fine  Lace 
Curtains,  Rich  Portieres, 
and  special  il  e  s  i  g  n  s  in 
Furniture.  ^  ^   ^  ^   ^   «•  ^ 


Shepard,  Norwell  &  Co. 


Winter  Street  and  Temple  Place 
[3>] 


By  appointment 
to  H.  M.  the  Emperor 
of  Austria. 


Vienna, 
VIII.  Piaristen  Gasse  60. 


VICTOR  FREISINGER 

Collector  of  Fine  Works  of  Art 

No.  174  TREMONT  STREET 
BOSTON 

Original  Oil  Paintings 

Miniatures  and  Ivories 

Rare  Ceramics 

Furniture  and  Hall  Clocks 

Marqueterie,  Vernis  Martin 

Buhl,  Chippendale,  Sherraton 


Branches  in  Paris  and  Carlsbad,  and  Atlantic  City,  N.J. 


EsTA^isHED  1798 


Cable  Address 
"  China,"  Boston 


Incorporated  i 894 


RICHARD  BRIGGS  CO. 


Glass  and  China  Merchants 


NOS.  287  TO  289  WASHINGTON  STREET 
AND  NOS.   2  TO   8  SCHOOL  STREET 


P.O.  Box  No.  5134 


Boston,  Mass.,  U.S.A. 

[32] 


BIGELOW 
KENNARD 
&^CO. 

GOLDSMITHS, 
SILVERSMITHS 
£x  IMPORTERS 
Designers  and  Makers  fe> 
of  fine  Hall  and  Mantel  m> 
CLOCKS. 

^""Wi  Attention  Is  called  to  the 
GRUEBY  POTTERY 
for  which  we  are  sole 
Boston  Agents. 


%1 


[33] 


JAPANESE  FINE  ART  GOODS 

SPECIAL  LINE  OF  ARTISTS'  MA- 
TERIALS, BRUSHES,  PAPERS,  INKS, 
AND  ALL  KINDS  OF  BOOKS  AND 
PRINTS  FOR  DRAWING. 

BuNKio  Matsuki,  380  Boylston  Street 

BOSTON,    MASS.  "^"^  Sign  of  the  White  Rabbit 


GREGORY  <^  BROWN  CO. 

WALL  PAPERS,  DRAPERIES,  STUFFS 
for  WALLS,  PLAIN  and  DECORATIVE 
PAINTING,  PICTURE  MOULDINGS. 

Ahs,  16  TO  20  West  Street,  Boston. 


FRANK  GAIR  MACOMBER 


INSURANCE 

OF    ALL  KINDS 


115  WATER  STREET,  BOSTON 
[34] 


EXPRESSLY    FOR    THE    FINE  TRADE 


BOSTON 
CHOCOLATES 

With  their  artistic  shapes,  delicate  flavors,  and  purity  of  quality, 
always  make  a  most  acceptable  gift 

MADE  BY 


545  Atlantic  Avenue,  Boston 


Frost  £5*  Adams  Company 


IMPORTERS  AND   DEALERS  IS 


ARTISTS'  MATERIALS  of  Every  Description 

Mathematical  Instruments,  Etching  Materials 
Material  for  Pyrography  (Wood  Burning)  Work 

37  cornhill 
Boston 


TtLErHONE  S    BobWOKl  H  SiRKEr 

962  Boston  Bos  i  on 


Lewis  F.  Perry  ^  Whitney  Co. 

Interior  Decorators 


Draperies  Decorative  Painting 

Wall  Papers  Plain  Painting 

Wall  Hangings  Papier-mache 


[35] 


House  Furnishing  Annex 

The  largest  and  most  magnificent  establishment  of  its  kind  in  the  world, 
carrying  in  stock  at  all  times  full  and  complete  lines  of 

Furniture,  Carpets,  Rugs, 
Upholstery,  Wall  Papers, 
Mattings,  and  Linoleums* 

We  invite  you  to  inspect  the  suite  of  rooms  on  the  fifth  floor  of  the  Annex, 
furnished  in  the  most  artistic  manner.  Every  piece  of  the  furnishings 
taken  from  our  regular  stock,  and  was  planned  and  executed  by  our  staff" 
of  experienced  designers. 

A  beautiful  subway  connects  the  Annex  with  the  parent  house. 

Jordan^  Marsh  &  Co. 


Edwin  Ford  and  Frederick  Brooks 


Stained  Glass 
Glass  Mosaics 
Memorial  Windows 


IIO-II2   BOYLSTON  StREET,  BoSTON 


[36] 


Macullar  Parker  Company 


MANUFACTURE  in  their  work-rooms,  on 
the  premises,  the  best  clothing  for  men 
and  boys,  and  invite  attention  of  discrimi- 
nating purchasers  to  their  stock,  correct  in  every 
detail  and  ready  for  immediate  use. 
In  the  custom  department,  entirely  separate  from  the 
above,  garments  are  made  to  measure,  from  carefully 
selected  materials,  by  experienced  workmen. 
Also  a  full  and  complete  assortment  of  Furnishing 
Goods  for  both  men  and  boys. 

398  and  400  Washington  Street,  Boston 


VEUVE  CHAFFARD 

PURE  OLIVE  OIL 

IN  HONEST  BOTTLES 

Full  Quarts.  Full  Pints.  Full  Half-pints. 

$1.25  per  bottle,  |o-70  per  bottle.  jio.40  per  bottle. 

13.00  per  dozen.  7.00  per  dozen.  4.25  per  dozen. 

ii^^^  S.  S.  PIERCE  CO.,  4?J3. 

il.^f;^/  Importers  and  Grocers^ 

f^^^i\fcg^  Corner  Tremont  AND  Beacon  Streets  ~)  ' 

'^^p^      Copley  Square  C  BOSTON. 

Central  Wharf  j 

Coolidge's  Corner,  BROOKLINE. 

[37] 


GOODNOW  &  JENKS, 

Designers  and  Manufacturers 

Family  Tableware  in  Sterling  Silver. 

^TRADE^ 
AR  K.^ 

Stanhope  Street,  Boston.  Sterling  Silver  only,  Fine. 


YAMANAKA   &  CO., 


Importers  and  Dealers  in 

Japanese  Fine  Arts  and  Dwarf  Plants 

i-ji  BOYLSTON  STREET,  opposite  Public  Garden. 
254  Fifth  Avenue,  New  Yory  City. 
[38] 


